標(biāo)題: Titlebook: Bergson and the Metaphysics of Media; Stephen Crocker Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Limited 2013 film.M [打印本頁(yè)] 作者: hexagon 時(shí)間: 2025-3-21 18:50
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書(shū)目名稱(chēng)Bergson and the Metaphysics of Media讀者反饋
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作者: microscopic 時(shí)間: 2025-3-21 21:32
Tedy Setiawan Saputra,Ratna Roostikadustrial life, the collapse of the grand narratives that underwrote our belief in progress and human science — all of these breakdowns conspire to make us wonder about the relation of life and the artful designs we impose upon it.作者: crease 時(shí)間: 2025-3-22 02:26 作者: certain 時(shí)間: 2025-3-22 08:24 作者: audiologist 時(shí)間: 2025-3-22 11:39
https://doi.org/10.1007/978-3-319-13999-9ill sometimes speak about intuition (rather than intelligence) as a kind of sympathy with things that allows us to fall out of reason and back into the immediacy of life. It is easy to suppose that Bergson is an animist or vitalist who rejects the contrivances of culture in order to fall back into the wellspring of being.作者: SEVER 時(shí)間: 2025-3-22 13:26
Sanjay K. Sahay,Ashu Sharma,Hemant Rathores the development of action and the open time in which this takes place. Bazin’s argument rested on a belief in film’s direct photographic/indexical relation to reality, which he understood to be a part of a movement toward a more perfect analogical presentation of the world in a ‘total cinema’.作者: GEAR 時(shí)間: 2025-3-22 17:04
One or Many Planes: The Composition of Intervals in Painting and Films the development of action and the open time in which this takes place. Bazin’s argument rested on a belief in film’s direct photographic/indexical relation to reality, which he understood to be a part of a movement toward a more perfect analogical presentation of the world in a ‘total cinema’.作者: 火光在搖曳 時(shí)間: 2025-3-22 21:46 作者: modish 時(shí)間: 2025-3-23 02:15 作者: 神圣在玷污 時(shí)間: 2025-3-23 06:34 作者: harrow 時(shí)間: 2025-3-23 09:43 作者: Constrain 時(shí)間: 2025-3-23 17:34 作者: 巨頭 時(shí)間: 2025-3-23 19:56
https://doi.org/10.1007/978-981-15-7062-9 author of . and . tells his students that the findings of Gestalt psychology, neuroscience and various Eastern religious practices suggest that we learn not by the mechanical dissection of our environments, but through organic pattern recognition. Our encounters with the world are less like an eigh作者: grenade 時(shí)間: 2025-3-23 22:39
Akanksha Somani,Rajendra Kokateleuze. Nonetheless, . and the . books both look to the birth of motion pictures for insight into the nature of thinking itself. In the movies, McLuhan and Deleuze see a new image of thought that is no longer based on a Cartesian model of a machine linking discrete cells of activity, but on the activ作者: 深陷 時(shí)間: 2025-3-24 04:14 作者: GUEER 時(shí)間: 2025-3-24 07:09 作者: 大吃大喝 時(shí)間: 2025-3-24 14:09 作者: apropos 時(shí)間: 2025-3-24 18:48
https://doi.org/10.1007/978-3-319-13999-9te medial noise is a central feature of instrumental reason, and is recognized as the basic cell of the highly rationalized and totally administered society of advanced capitalism. Developing on the ideas of Max Weber and Georg Lukacs, Max Horkheimer, Theodore Adorno and colleagues identified a new 作者: 輕浮思想 時(shí)間: 2025-3-24 19:58 作者: Salivary-Gland 時(shí)間: 2025-3-25 01:36
https://doi.org/10.1007/978-3-319-13999-9w thinkers have pursued this duplicitous nature of time with the intensity and descriptive powers of Bergson. His whole philosophical enterprise is built around the consideration of how time presents itself in these two different orders — a series of separate presents vs. a long continuum, or discre作者: grenade 時(shí)間: 2025-3-25 06:42
https://doi.org/10.1007/978-3-319-13999-9rete and continuous multiplicities, points and continua, or synchronous and diachronous time. On the one hand, Bergson recognizes that we have to live in bodies and machines, languages and numbers, whose ‘discrete’ qualities separate us form the flow of life — the élan vital. On the other hand, he w作者: Gnrh670 時(shí)間: 2025-3-25 10:21
https://doi.org/10.1007/978-3-319-13999-9 techniques or the didactic messages of these films but rather on the new kinds of scenarios they explore — ‘situations which we no longer know how to react to, in spaces which we no longer know how to describe’.. Neorealism takes these ‘unanswerable situations’ as its basic raw material. Roberto Ro作者: 管理員 時(shí)間: 2025-3-25 11:52
Tedy Setiawan Saputra,Ratna Roostikapeculative thought begins with the awe we feel in the sublimity of nature, or the expanse of the universe, or the impenetrability of an others’ gaze. The philosophical impulse today originates instead, Critchley argues, in a sense of failure. The promise of modern philosophy from the Enlightenment o作者: Arbitrary 時(shí)間: 2025-3-25 16:10 作者: 龍卷風(fēng) 時(shí)間: 2025-3-25 21:40
Distracted and Contemplative Timepresent that appears before us now, and we regard the present as an obstacle to the realization of that second, future moment. The temporal organization of habit, as described by Bergson on the other hand, is based on a certain symmetry between the tenses. For this reason, the comparison between them can be instructive.作者: progestin 時(shí)間: 2025-3-26 00:48 作者: LAIR 時(shí)間: 2025-3-26 07:52
Overview: What is a medium? Why is there?always a middle? Can media produce ‘immediacy‘? Henri Bergson recognized mediation as the central philosophical problem of modernity. This book traces his influence on the ‘media philosophies‘ of Gilles Deleuze, Marshall McLuhan, Walter Benjamin and Michel Serres.978-1-349-45896-7978-1-137-32450-4作者: 引起痛苦 時(shí)間: 2025-3-26 08:53
Meghana A. Divakar,Megha P. Arakerins congealing into wholes that are neither simply unified nor fragmented. These are structures that Serres, like Bergson before him, calls ‘multiplicities’. In ., he gives many beautiful examples of some kinds of life that have this layered, interwoven and open quality:作者: chronicle 時(shí)間: 2025-3-26 15:26
https://doi.org/10.1007/978-3-319-13999-9present that appears before us now, and we regard the present as an obstacle to the realization of that second, future moment. The temporal organization of habit, as described by Bergson on the other hand, is based on a certain symmetry between the tenses. For this reason, the comparison between them can be instructive.作者: senile-dementia 時(shí)間: 2025-3-26 17:58
https://doi.org/10.1007/978-3-319-13999-9w thinkers have pursued this duplicitous nature of time with the intensity and descriptive powers of Bergson. His whole philosophical enterprise is built around the consideration of how time presents itself in these two different orders — a series of separate presents vs. a long continuum, or discrete vs. continuous multiplicities.作者: 斑駁 時(shí)間: 2025-3-26 21:05 作者: MINT 時(shí)間: 2025-3-27 03:20 作者: 樹(shù)膠 時(shí)間: 2025-3-27 09:09 作者: mechanism 時(shí)間: 2025-3-27 12:59
978-1-349-45896-7Palgrave Macmillan, a division of Macmillan Publishers Limited 2013作者: 無(wú)法破譯 時(shí)間: 2025-3-27 15:52 作者: FLOAT 時(shí)間: 2025-3-27 21:46
Unanswerable Situationsal content, or humanitarian message. Rosselini’s project is not a sociological exercise of providing context to the plight of war orphans and refugees and all the other damaged lives of the post war years. In fact, just the opposite seems to be the case. Neorealism attempts to strip away context and作者: 外露 時(shí)間: 2025-3-28 01:16
https://doi.org/10.1007/978-3-319-13999-9ition of images. In a world of instrumental reason, everything becomes ‘a(chǎn) means to its own consumption’, as Fredric Jameson nicely summarizes it.. This kind of reason is not tied to any single sphere of activity. It defines our relation to nature, to others and even to our image of mind and reason. 作者: 作繭自縛 時(shí)間: 2025-3-28 02:29 作者: fledged 時(shí)間: 2025-3-28 09:11
Introduction author of . and . tells his students that the findings of Gestalt psychology, neuroscience and various Eastern religious practices suggest that we learn not by the mechanical dissection of our environments, but through organic pattern recognition. Our encounters with the world are less like an eigh作者: 鐵砧 時(shí)間: 2025-3-28 11:38 作者: Interim 時(shí)間: 2025-3-28 16:48
One or Many Planes: The Composition of Intervals in Painting and Filmon of reality in long sequence and deep-focus shots. For Bazin and Mitry, the deep-focus shot represented a leap beyond the analytic fragmentation of action that characterized earlier forms of montage. Deep focus allowed for a more realistic presentation of events as they occurred. Mitry described t作者: Ventilator 時(shí)間: 2025-3-28 22:17 作者: breadth 時(shí)間: 2025-3-29 02:28
Noise Is the Presence of the Mediumns congealing into wholes that are neither simply unified nor fragmented. These are structures that Serres, like Bergson before him, calls ‘multiplicities’. In ., he gives many beautiful examples of some kinds of life that have this layered, interwoven and open quality:
